royer SF-12, Инструкция по эксплуатации и Руководство пользователя

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In conclusion, try to find the best preamp you can afford that
hasgood gain characteristics and low noise. Coloration is optional.
Equalization and Ribbon Microphones
One of the great strengths of ribbon microphones is how well
they take EQ. Even with substantial amounts of equalization,
ribbons retain their natural, “real” quality. For example, when
a lead vocal is being performed on a ribbon microphone, you can
actually boost the upper end frequencies to the point where the
ribbon mic emulates the performance curve of a condenser mic
with excellent results. This is not to say that a ribbon microphone
can replace a quality condenser mic, but the EQ friendliness
inherent in ribbon microphones does allow for an enormous
amount of flexibility.
The reason that ribbon mics take EQ so well is their inherent low
self-noise, unusually smooth frequency response characteristics
and freedom from off-axis coloration. Dialing in high amounts
of equalization on condenser or dynamic microphones also means
dialing in extra amounts of the microphone’s distortion products
and self noise; garbage that contributes to an unnatural, unpleasant
sound. Because distortion and self-noise are almost non-existent
in ribbon microphones, high levels of EQ can be used without
adding harshness or excessive noise.
Hum, Noise and Mic Orientation
All dynamic microphones, including ribbons, are susceptible to
picking up stray alternating magnetic fields. Power transformers
(such as those found in guitar amplifiers) and alternating current
motors are the most likely sources of hum. Building wiring and
electrical utility transformers are other likely sources. A well-
designed microphone provides shielding to minimize the effects
of stray magnetic radiation. In some cases complete isolation is
impossible and the result is usually hum or buzz. Ribbon
microphones can potentially manifest this condition to a greater
degree because of their higher gain requirements. With vintage
ribbon microphones that employ large, bulky magnet structures,
the problem can be worse. Royer SF-1 and SF-12 microphones
are designed to minimize the effects of unwanted radiation by
integrating the transducer barrel as part of the magnetic return
circuit. With this design, the barrel that houses the transducer
serves to complete the North-South magnetic return and neutralizes
the effects of outside magnetic radiation. The SF-1 mono and
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